Tye: The Peterhouse Mass & Other Works Cinquecento

• Christopher Tye (1505 - 1572): Amavit eum Dominus:
• 1 Tye: Amavit eum Dominus 03:30
• Peterhouse Mass:
• 2 Tye: Peterhouse Mass: I. Gloria 06:59
• 3 Tye: Peterhouse Mass: II. Credo 06:14
• 4 Tye: Peterhouse Mass: III. Sanctus 03:09
• 5 Tye: Peterhouse Mass: IV. Benedictus 02:11
• 6 Tye: Peterhouse Mass: V. Agnus Dei 04:55
• Alleluia. Per te Dei genitrix:
• 7 Tye: Alleluia. Per te Dei genitrix 04:19
• Sub tuam protectionem:
• 8 Tye: Sub tuam protectionem 02:33
• Cantate Domino:
• 9 Tye: Cantate Domino 08:40
• Kyrie "Orbis factor":
• 10 Tye: Kyrie "Orbis factor" 04:30
• In pace, in idipsum:
• 11 Tye: In pace, in idipsum 05:13
• Miserere mei, Deus:
• 12 Tye: Miserere mei, Deus: I. Miserere mei, Deus 05:03
• 13 Tye: Miserere mei, Deus: II. Laqueum paraverunt 05:02
• Total Runtime 01:02:18

Info for Tye: The Peterhouse Mass & Other Works

Tye’s Peterhouse Mass has survived only in an incomplete set of partbooks preserved in Peterhouse, Cambridge, and, like much music of its time, requires a good deal of creative detective work to reconstruct what has been lost in the intervening centuries. Sympathetic editing and Cinquecento’s idiomatic performances restore to life a major work from the mid-sixteenth century.

Christopher Tye is less famous than his Tudor contemporary Thomas Tallis and his documented life more chaotic, but the caliber of his Masses and polyphony are unsurpassed for color, full-textured fabric and interwoven melodic lines. The music may be English but the five members of Cinquecento ('16th century' in Italian) are pan-European, each bringing a lifetime of early music experience to forgotten masterpieces. This is their 17th album for Hyperion. Tye successfully negotiated the perilous politics of an era when successive monarchs, from Henry VIII to Elizabeth I, pulled England back and forth between Catholicism and Protestantism, and demanded that church music bend accordingly. The Peterhouse Mass recorded here survives in partbooks found in the Cambridge college of the same name; the missing tenor part has been reconstructed by Paul Doe.

Cinquecento

Cinquecento
Comprising five professional singers from five European countries, Cinquecento takes its name from the Italian term for the sixteenth century. The pan-European structure of the ensemble (its members are from Austria, Belgium, England, Germany and Switzerland) harks back to the imperial chapel choirs of the sixteenth century, whose members would have been chosen for their musicianship from Europe’s most prized musical establishments.

Formed in Vienna in October 2004 the group quickly established itself as one of Europe’s premier vocal ensembles. Cinquecento aims to bring the lesser-known sixteenth-century choral repertoire from the courts of imperial Austria to a wider public, as well as performing a varied range of Renaissance polyphony with a view to illuminating to audiences the kaleidoscopic diversity of compositional styles operating within Europe over the period. Recent interest from modern composers has also seen the ensemble add a variety of contemporary works to its repertoire.

Aside from numerous performances in Austria, the ensemble continues to forge a busy international touring schedule. Performances abroad have taken them to Belgium, Holland, Poland, the United Kingdom, Switzerland, France, Portugal, Hungary, Italy, Slovakia, Slovenia, Germany, the Czech Republic, as well as the USA, Canada and South Korea.

In summer 2021, Cinquecento made its successful debut at the Salzburg Festival.

Alongside the many accolades lavished on the group’s recordings such as the „Diapason d’Or de l’année“ for Heinrich Isaac’s six-part Missa „Wohlauff gut Gsell von Hinnen“, 2009 saw Cinquecento awarded the ‘Deutschlandfunk-Förderpreis’ for outstanding promise by the Musikfest Bremen. Since September 2005 Cinquecento has been ‘Ensemble in Residence’ at the church of St Rochus and Sebastian, Vienna, performing a polyphonic Mass-setting each week.

Since 2006 Cinquecento has been recording for Hyperion, focusing on Habsburg court composers from the sixteenth century. The latest release features Jacob Regnart’s Missa „Christ ist erstanden“ (2021).

…at the very forefront of modern-day specialists in the performance of Renaissance vocal music. (International Record Review)

Booklet for Tye: The Peterhouse Mass & Other Works